New Work

While I do believe it is easier to sell traditional shows (like Shakespeare... let's face it, no one really understands the language anymore, but it still sells!), people are willing to see new works. I think it depends on your show - if the show is somehow original (Puppetry of the Penis, and the new 'D-Cuppetry'), or is a take on something old (rewriting Beckett), then it tends to be easier to sell. The trick is to find a niche. The Umbilical Bros. found it. So did Circus Oz. But as the market floods with more plays and genres, it becomes harder for playwrights. People are not that willing to see something that is outside their realm of comfort, unless the marketing is so good, that they are willing to go along. I've found that most plays that get selected to be produced at medium-sized or larger companies (or even the 'fringe' venues), have been those that won awards, received funding, had mentorship or developmental dramaturgy, or have a lot of financial backing. Those that are produced by smaller groups get less notice. Read my three-part article on Arts Hub about the state of playwrights in Australia. That covers a lot more depth on the issue. Na The Prompt Copy Networking emerging theatre professionals www.thepromptcopy.com Sticky Apple Legs http://stickyapplelegs.artsblogs.com